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Michael Kennedy

San Diego, CA

I have a broad spectrum of experience creating 3D imagery in print, game development, r&d, commercial, and film. My focus has been in the area of lighting and compositing for film over the last few years punctuated by projects off in the world of game development. I’m currently looking to expand into new areas where I can apply my understanding of design and visual imagery. I would like to continue having the opportunity to contribute to interesting, creative projects while working with the best people in the industry and around the world.

Experience:

Sony Playstation, San Diego January 2018- present

     Lighting Supervisor

     Established the lighting department for the Visual Arts Service  Group (VASG). Responsible for overseeing and completing work on internal and external

     projects. Experience in a variety of engines and pipelines. Always learning more. 

Double Negative, Vancouver May 2016- December 2017

Sr Compositor

     Star Trek Beyond, Assassin’s Creed, Wonder Woman, Annihilation,  

     Blade Runner 2049, Meg, Pacific Rim

 Scanline VFX, Vancouver June 2014 – April 2016

Sr Compositor

The Hunger Games- Mockingjay Responsible for compositing multiple shots in the dam destruction sequence. Difficulty ranged from relatively straightforward shots to difficult reconstruction and lookdev.

San Andreas Responsible for compositing multiple shots in the tidal wave sequence in San Francisco. Developed key shots establishing the look of various elements including the main tidal wave itself.

Double Negative, London November 2011- October 2013

Sr Technical Director, Lighting

Thor, The Dark World, Look Development and Lighting: Responsible for bringing together the final look for the Observatory in Asgard. Very heavy scenes with lots of water, metal, and glass. This was all in Renderman.
Rush, Lighting Lead: Working with matchmove geometry and building out environments to create moving reflections to composite in with cars shot on green screen. This was all in Renderman.
Total Recall, Look Development and Lighting: China Fall sequence. I was responsible for lookdev on the roof section of the “gravity elevator”. This involved developing complex shader setups and lighting rigs including dry and wet looks with rain interaction. This was all in Renderman.

Sony Computer Entertainment of America, San Diego July 2011-present

Lighting Supervisor, Cinematics

Uncharted 3:Supervising the process of creating real-time lighting for characters in cinematic sequences for Naughty Dog’s Uncharted 3. Responsible for leading a small team in the development of look, troubleshooting tech, client contact, and scheduling and delivery.

Sony Pictures Imageworks, Culver City February 2011-May 2011

Sr. Technical Director, Lighting and Compositing

Green Lantern: Responsible for look development and lighting/compositing key destruction shots in the final battle sequences. This was all in Katana and Arnold.

Walt Disney Feature Animation Studios, Burbank March 2010-February 2011

Sr. Technical Director, Lighting and Compositing

Tangled: Responsible for lighting and compositing shots in the forest chase and castle break in sequences. This was all Renderman integrating brickmaps for geometry and some wonderful new hair shading technology.

Lion King 3d: Responsible for adding depth and dimension to original elements from the 1994 release. A completely 2d process accomplished via custom tools in Shake

Weta Digital, Wellington August 2009-November 2009

Sr. Technical Director, Lighting

Avatar: Responsible for lighting shots in the aerial battle sequence. This included working with very heavy scenes of forest foliage, destruction elements having extensive interaction with fire and smoke.

Sony Pictures Imageworks, Culver City April 2009-July 2009

Sr. Technical Director, Lighting and Compositing

2012: Responsible for Lighting and Compositing shots of the ships and inner dock area. This involved working with Arnold in it’s early stages of development to render very heavy and complex scenes.

MPC/Technicolor, Vancouver August 2008-March 2009

Sr. Compositor and Lighting Lead,

Watchmen: Composited several of the more complex owl ship shots and street riot sequences in Watchmen.

Surrogates: Lighting lead on Surrogates. Managed artist schedules and work load. Reviewed and directed lighting artists work. Designed shaders and set up lighting rigs, lit key shots.

Sony Pictures Imageworks, Culver City June 2005-June 2008

Sr. Technical Director, Lighting and Compositing

Valkyrie, Beowulf, Spiderman 3, Superman Returns, Chronicles of Narnia

Responsible for Lighting and Compositing shots on multiple film projects. Working in a variety of software environments including off the shelf and proprietary packages for lighting, rendering and compositing.

Digital Domain, Venice November 2004-May 2005

Sr. Technical Director, Lighting and Compositing

Aeon Flux: Ran a sequence creating set extensions. Modeled, textured, shaded, lit, rendered, and composited.

Sony Pictures Imageworks, Culver City October 2003-September 2004

Technical Director, Lighting and Compositing

Polar Express Imax 3D and Spiderman 2

Responsible for Lighting and Compositing shots. Working in a variety of software environments including off the shelf and proprietary packages for lighting, rendering and compositing.

ESC Entertainment, Alameda June 2003-October 2003

Technical Director, Lighting

Matrix Revolutions: Responsible for Lighting shots in the Zion Under Siege sequence.

Midway Games, Bay Area January 2002-April 2003

Director of Cinematics/ Motion Capture Supervisor

Gladiator (unreleased), Dr. Muto, Gauntlet Dark Legacy:

Responsible for establishing and managing the cinematics department. Tasks included specifying hardware and software solutions. Defining pipeline. Managing and scheduling artists. Bidding and directing sequences.

Skills

  • Software: Arnold, Mental Ray, Vray, RenderMan, Katana, Maya, Nuke, various proprietary lighting/rendering and compositing packages
  • Directing photo, scanning, and mocap shoots
  • Managing and directing artists
  • Interacting with programmers in the development of proprietary software for render pipeline development, motion capture, motion editing, cross package translation and multimedia authoring systems

Education

  • University of Tennessee
  • Bachelor of Fine Arts in Graphic Design- graduated with honors
  • Tennessee Technological University, Engineering

Hobbies

Photography, Travel, Cooking, Bowmaking and Fletchery

Yon-dan in Kyudo (traditional Japanese archery)